Interview
Courtesy of Sibu Mpanza.

INFLUENCED: Meet Sibu Mpanza—the YouTuber Who's Making a Killing from Just Having Fun

'I am the person I needed when and even before I started my YouTube channel,' the prolific YouTuber says.

OkayAfrica brings you the 2019 INFLUENCED Series. In the coming weeks, we'll be exploring the online communities being fostered by young South Africans who are doing more than just influencing. From make-up gurus and hair naturalistas to socially-conscious thought leaders, get ready to be influenced. Read the rest of the series here.

Years ago, Sibu Mpanza found himself experiencing two realities Black South African students are still battling with even today: crippling financial woes at university and debilitating depression.

An aspiring musician who ended up studying psychology instead at the University of Cape Town, Mpanza began skipping as many classes as he possibly could. He would spend copious amounts of time at a computer hidden away in the corner, passing the hours watching funny videos on YouTube. In fact, he says he spent so much time on YouTube that he was literally one of the very first people to view Beyoncé's epic "711" music video—something Mpanza recalls in stitches.

He was searching for something, although admittedly, he didn't quite know back then what it was exactly. It eventually got so bad that in his second year of university, he packed up his things, dropped out and moved to Johannesburg to see if he could become what he'd always imagined he could eventually be.

Fast-forward to 2019, and the name Sibu Mpanza is not only an undeniable success story but an entire brand.

Mpanza is a full-time YouTuber who has been able to capitalise on creating hilarious content about his life and pretty much anything that interests him. While he initially "blew up" because of a YouTube video he put out, a video which called out White students at the University of the Free State who were recorded beating up protesting Black students at a rugby game, he's since moved onto a second channel, More Mpanza, where he makes content that's a lot more fun, apolitical and doesn't take a toll on his mental health. As if two successful channels weren't enough, he's also got a third channel, Arcade, where he and his business partner talk about things they enjoy in the technology space.

For anyone looking to just let off some steam, watch a YouTuber who's willing to poke fun at himself or find some really quality content in an era where everyone seems to have a YouTube channel about something or the other, Mpanza is definitely your guy.

We caught up with him to talk about what inspired his various YouTube channels, the fame that comes with being a household name and what's really important to the young South African creative.

This interview has been edited for length and clarity.


From your days at university, what made want to start an online platform and more specifically, a YouTube channel?

One day at University, I came across Caspar Lee who is arguably the biggest YouTuber to come out of South Africa. And at that point, he had already moved to the UK and he had maybe 3 million subscribers. I was like, this is so cool. And I think one of the biggest things for me is for the first time I was happy.

And then I was like, how do I take this happiness that I'm suddenly feeling to the next level? And I thought, why don't I do this myself and I'll see how that makes me feel. And I borrowed a camera and made a tripod stand out of my piano, a Game of Thrones book and one of my mom's Bibles for my first ever YouTube video.

This Is What Depression Looks Like | Sibu Mpanza www.youtube.com

Your content is quite varied, it's not just one specific thing. How did you make the decision in terms of the kind of content that you were going to create?

And honestly, I didn't have an angle. I was just like, one video at a time, whatever I feel like making that week, whatever comes to mind, whatever made me laugh this week, a story that I might've thought about at that point. But then I remember watching a video on Twitter of these guys at the University of the Free State and they were beating these black protesters at a rugby game. And I felt I really wanted to make a video about it.

When I uploaded the video, it received 10,000 views in five days. At that point I was only getting about 200 views a week.

"A lot of people were like, "Please give us more of this content," while others were telling me to kill myself or telling me they're coming to kill me."

People would say things about my family. And I think a lot of people just assumed, because I had done this for two years, that it wasn't taking any toll on me. But then turns out I was just holding all that stuff back and then it got to a point where I was like, nah, this is not worth it.

And then I started my second channel, More Mpanza, and when I was doing just fun blog content, I was like, this feels so much better. I then completely just stopped the other content. My third channel is a tech channel so it's anything and everything that myself and my business partner, George, are enjoying in the tech space. It's called Arcade.

What would you say sets your YouTube channel apart when there are literally thousands of South African YouTube accounts?

I think one of the things that just sets mine apart is that it's old. I think people gravitate towards that "OG legend" idea. And honestly, I would hate for that to become the only thing that's liked about me is that, "Oh, Sibu was one of the pioneers." But at the same time, I think that is a big part of it. I think people have a great respect for me because I was one of the first few. Last week, I was celebrating five years on YouTube, which was the wildest thing to me. I think that's one thing that sets it apart, and I think just the fact that I've lasted this long, and I was able to keep changing the game. A lot of people would say that I've kept innovating what my brand is.

But honestly, I also think it's very easy when my brand is just my personality. I'm obviously going to grow, I'm obviously going to change. So I think that's what's made it easier for me to innovate what YouTube is to me and what YouTube is to South Africans. And I think, yeah, that's what people really enjoy, like I said in the beginning it's also the growth. There's very few YouTubers that you can watch right now that you can say, "I've known you for four years," or, "I feel like I've known you for four years because there's four year's worth of content out there."

From Boyfriend To Baddie | #MoreMpanza www.youtube.com

Would you say that YouTube is your proverbial "9 to 5"?

Yeah, without a doubt. Since 2017, I decided to drop out of varsity, I didn't even write my exams in that year. I just literally left. I told my mom that I was dropping out and also moving to Joburg to try and become something. And the idea wasn't to become a full-time YouTuber. I thought in the beginning that it was not going to happen for about two years and that I'd need to find a job where I could use my video editing skills. I got my first job within a month where a brand was like, yo, here's R30 000, we want you to be a part of this digital campaign with us. And from there, the work just started rolling in and I found myself never actually looking for that nine-to-five and just becoming a full-on content creator.

What does your channel mean to you personally?

It brings me so much happiness. I think I never thought after varsity, well not even after varsity, during varsity, that I'd ever get the creative side of me back. After two years of going completely cold turkey in terms of creativity, I honestly felt like I was dying on the inside. To be able to create content that people see as creative makes my heart sing.

As much as people see this as my job and I think because of my success, people think I'm just a businessman, they don't realize that I enjoy this. That's why I'm able to make three YouTube channels with millions of views because I just really, really enjoy it.

I think one of the biggest things is that I am the person I needed when and even before I started my YouTube channel. Having an audience that understands boundaries has made this a valuable platform. I suffer from depression and anxiety and if I'm having a terrible two weeks, I'm not going to upload. I think I am able to sort of regulate by my mental health in a way.

Reading Your Mean Comments | #MoreMpanza www.youtube.com

What would be your advice to aspiring YouTubers who want to create content but are afraid of how their work may be received in terms of numbers?

I think YouTube, or social media in general, is one of those places where you have to be vulnerable. It's part of the whole idea of courage. I don't think I made this video, but I wanted to make it on my main channel, talking to YouTubers and creators about, I was reading something on this idea that courage and vulnerability is more of the same thing and less on, what can I say, on either side of the spectrum.

"Honestly, the numbers do not matter and shouldn't matter because most of these things are long term games."

Just because you heard of Sibu a month ago and you're like, "Oh my goodness, he has a car, he has an apartment, he's made so much money off of these brand deals", doesn't mean that it happens now. It took me three years to make a cent out of YouTube.

Another thing I like to say is, for the people who are getting 200 views, for the people who are getting 100 views, and they feel like it's a little because there's us who are getting 20k and 50k views, it's a lot of people! If you try to fit in 100 people in your house, that is a lot of people.


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Photo (c) John Liebenberg

'Stolen Moments' Uncovers the Namibian Music That Apartheid Tried to Erase

The photo exhibition, showing at the Brunei Gallery in London, highlights artists from Namibia's underground scene between 1950-1980, a time of immense musical suppression prior to its independence.

Before its independence in 1990, a whole generation of Namibians were made to believe that their county had no real musical legacy. Popular productions by Namibian artists from previous eras were systematically concealed from the masses for nearly 30 years, under the apartheid regime—which extended to the country from South Africa following German colonization—depriving many Namibians of the opportunity to connect with their own musical heritage.

"Stolen Moments: Namibian Music Untold," a new exhibit currently showing at London's Brunei Museum at SOAS University of London, seeks to revive the musical Namibian musical traditions that the apartheid regime attempted to erase.

"Imagine you had never known about the musical riches of your country," said the exhibit's curator Aino Moongo in a statement of purpose on SOAS' site. "Your ears had been used to nothing but the dull sounds of country's former occupants and the blaring church and propaganda songs that were sold to you as your country's musical legacy. Until all at once, a magnitude of unknown sounds, melodies and songs appear. This sound, that roots your culture to the musical influences of jazz, blues and pop from around the world, is unique, yet familiar. It revives memories of bygone days, recites the history of your homeland and enables you for the first time to experience the emotions, joys and pains of your ancestors."

Photo (c) Dieter Hinrichs

The 'Stolen Moments" project began in 2010 in an effort to champion Namibia's unsung musical innovators. For the collection, Moongo and Assistant Curator, Siegrun Salmanian—along with a group of international scholars, artists, photographers and filmmakers—curated a large-scale photo exhibit that also features a 120-minute video projection, focusing on the dance styles of the era, along with listening stations, a sound installation that features "100-hours of interviews with musicians and contemporary witnesses," and displays of record covers and memorabilia from the period between 1950-1980.

The musicians highlighted, produced work that spanned a number of genres—a marker of the country's vast and eclectic underground scene. Artists like the saxophonist Leyden Naftali who led a band inspired by the sounds of ragtime, and the psychedelic rock and funk of the Ugly Creatures are explored through the exhibition, which also centers bands and artists such as The Dead Wood, The Rocking Kwela Boys, Children of Pluto and more.

"There are many reasons why you've never heard this music before," Moongo continues. "It was censored, suppressed, prohibited and made almost impossible to listen to. Its creators are either long gone or have given up on music making, by reasons of adversity, death and despair. And yet this beautiful music exists with a liveliness, as if it had never stopped playing. It is still in the minds of the few who can remember, with the ones who played it, and on those rare recordings that have survived in archives and record collections scattered around the globe. Allow me to share these stolen moments with you."

Photo (c) Dieter Hinrichs


Photo (c) John Liebenberg

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"Stolen Moments" is now showing at the Brunei Gallery in London and runs through Sept 21.

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Foul Language and Depictions of Rape Spur a Book Recall Campaign in Kenya

Kenya's Top Book seller pulls a South African book for youth due to foul language.

A main book supplier in Kenya, Text Book Centre, has announced that they would not stock a book due to its "vulgar and foul language." The book, Blood Ties, was written by South African author Zimkhitha Mlanzeli. The banning comes just after a video went viral in Kenya of a school child having a verbal outburst peppered with strong language. As reported by BBC, the removal was sparked by parents showing outrage after excerpts from the book were shared on twitter. These excerpts contained use of the f-word as well as a description of a rape scene.

As per their statement, the Text Book Centre claims they believe in "upholding high moral standards and raising generations of responsible citizens who are not only educated but ethical." The Kenyan publisher, StoryMoja, has defended the book in a statement of their own. They argue that the book is part of a new series showcasing books that deal with "contemporary societal issues" and that this particular book is a fictional story that grapples with the negative repercussions of peer pressure. "In actual fact, the book guides readers on the steps to take should they find themselves in a similar situation and underscores the sensitivity with which victims of sexual abuse should be treated." The statement also highlights the fact that the publishers had listed Blood Ties for readers in high school or above.


The discrepancy is that some schools have recommended the book as a reader – meaning for younger children aged 12 or 13 – though it has not been approved by the Kenyan Institute of Curricular Development (KICD), the entity in charge of managing texts used in schools. In a tweet, the KICD claimed that the book was not approved and that some teachers may be recommending texts without ensuring they were endorsed by the KICD. The dispute is sparking debate as to what should be taught in Kenyan schools.

As of late this morning, StoryMoja is in the process of recalling all copies of the book from stores and schools across Kenya. In a tweet they claim that it is because they have determined the language used in the book is the issue and not the subject matter.

Censorship is always a contested topic, just last month we reported on Nigerian authorities censoring a music video for "threatening security." Also, Kenya's censorship tactics have been in the global eye since a refusal to screen the film Rafiki for its homosexual heroines despite being lauded at international film festivals.

Here are some reactions from Kenyans on Twitter:





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mage courtesy of TIFF

Senegalese Filmmaker Mati Diop Tells a Haunted Story of Migration

We caught up with the celebrated director at the Toronto International Film Festival to talk about her new film, Atlantics

It's been a good year for French-Senegalese director Mati Diop and her film Atlantics: A Ghost Love Story.

The movie got its North American premier at the Toronto International Film Festival (TIFF) this month after wowing critics and audiences at Cannes, where it won the prestigious Grand Prix. Diop was the first Black woman to successfully submit a film in the Cannes competition, and naturally the first to win any award at the iconic festival.

In Toronto, the Paris-born director was also honored with the inaugural Mary Pickford Award for Outstanding Female Talent, presented at the TIFF Tribute Gala on September 9. The award is named after Mary Pickford, a Toronto native who went on to conquer Hollywood in the early days of the industry as an actor and producer. Co-founder of United Artists, she was the highest paid woman in Hollywood in her day.

Mati Diop, actor and director, was born in Paris into a prominent Senegalese family, the daughter of noted musician Wasis Diop, and niece of well known filmmaker Djibril Diop Mambéty. As a director, she has several short films under her belt, including Atlantiques in 2009. Her short films Big in Vietnam and A Thousand Suns screened at TIFF in 2012 and 2013 respectively. Atlantics: A Ghost Love Story is Diop's first feature, which she directed as well as co-writing the screenplay with Olivier Demangel.

It's in the story of the first Atlantiques – the short – that the new film came to be. "The two films are both connected and not connected," Diop tells OkayAfrica. The short Atlantiques was self produced, and shot on video on a shoestring budget, she explains. Diop was moved by the constant stream of reports, between 2000 and 2010, of young Senegalese taking to small wooden boats and braving the ocean waters in a bid to reach Spain and better opportunities. As she notes, the media tended to treat the phenomenon as largely an abstract issue, one that had to do with economic forces. Diop wanted to tell the story of the real people in that situation.

"I felt that my cinema should be put at the service of their voices," she says. "I wanted to understand." It's part of what motivated Diop to get into film in the first place. While the short was shot documentary-style, she worked the story as fiction. The actor featured in the short had actually made an Atlantic crossing, but was subsequently turned back by Spanish authorities. The way he spoke about the experience connected with Diop; in particular, his determination to try the perilous journey once more. "I am here, but not here," he told her. "Serigne felt it was here [in Senegal] he would lose his life," Diop says. She wanted to understand what drove so many young men to risk their lives. "He felt that his life was vulnerable in Senegal." The actor's words took on even more resonance when he died, while still in Senegal, before he could try again. Diop says he had gone to a hospital after falling ill, but the staff were on strike. After his death, it left her with mixed feelings. "I wondered if I had the right to continue."

TIFF Tribute Gala Mati Diop | TIFF 2019 www.youtube.com

Diop was left with the poignant memory, and a haunting impression. "When you leave, it means you are already dead," she says. After filming the short, she attended Serigne's funeral, and filmed his mother and sister—the women left behind who would become the focus of the feature film treatment. Diop says that the character of Ada, the protagonist of the new movie, is based in large part on the sister, who, in the short film, does not speak any lines.

In Atlantics: A Ghost Love Story, Ada is 17 years old, in love with Souleiman, but her parents have already arranged a very practical marriage with another—and much wealthier—man. On the eve of her wedding, odd things begin to happen, and Ada learn that Souleiman and his friends have left Dakar in a boat, hoping to reach Spain. Ada and her BFFs anxiously await any word from them, as the mysterious happenings keep piling up.

"The beauty of women comes through marriage," a cleric tells one mother. Ada's story embodies the life of a young West African woman—torn between traditional forces in both her family and society, and the friends who wear Western dress and don't bother with the old ways. The wealthy family she has married into owns a large construction company, the one that didn't pay its workers for months, leading the young workers to try their luck in Spain. She loves Souleiman, but she also needs to find her own path.

Mama Sané plays Ada, the solid heart of the film, as a tangle of emotions and repressed desires. She veers from defiant when dealing with the police detective sent to investigate the strange occurrences, to a wordless expression of longing with the kind of intensity only a teenager can muster.

Diop's directorial vision turns Dakar into a place of both surreal magic and harsh reality. The film immerses the audience in the city's sounds, from the goats bleating outside a window while Ada and her friends talk, to voices in the next room, with the eternal heaving of waves against the shore as a recurring refrain. The original music by Fatima Al Qadiri adds to the effect.

Cinematographer Claire Mathon has shot the film with a poetic eye. There are many images of the shifting surface of the sea, with the open sky and sun above it, each different from the last. The streets of Dakar at night take on an otherworldly edge, framed in palm trees against the artificial lights. The building the young men have been working on is futuristic in design, all glass and steel, and the company owner's neutral modern mansion contrasts with the broken rubble on the streets, from slick sports cars to horse drawn carts. It adds to the sense of the surreal.

Atlantics: A Ghost Love Story was acquired by Netflix after Cannes, and is intended for worldwide release by the streaming service, (with the exception of China, Russia, Benelux, Switzerland, and France.) As part of its new policy, Netflix, which became an official member of the MPAA (Motion Picture Association of America,) earlier this year, will be giving the flick a "theater-first" release, opening in selected theaters on November 15, with streaming available from November 29 in North America.

The film also stars Amadou Mbow, Ibrahima Traoré, Nicole Sougou, Amina Kane, Mariama Gassama, Coumba Dieng, Ibrahima Mbaye, and Diankou Sembene. Dialog in the France-Senegal-Belgium co-production is in Wolof with subtitles.

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(Photo by Francois LOCHON/Gamma-Rapho via Getty Images )

Exiled Tunisian President Ben Ali Has Died

The former president had been living in Saudi exile since 2011.

Tunisia's former president Zine el-Abidine Ben Ali, 83, has been declared dead while in exile in Saudi Arabia. Ben Ali became interim Prime Minister in 1987. He ran unopposed and was elected Prime Minister in 1998 and served for 23 years – from 1988 to 2011. He was known for using autocratic techniques, eradicating presidential term limits and altering age caps in order to stay in power. In the beginning, Ben Ali was considered a "people's head of state" and garnered the nickname "Benavie" which loosely translates to "Ben Ali for life." By the 2000s, however, he had become deeply unpopular and prompted protests and unrest against his oppressive rule.

His reign ended when he fled Tunisia on January 14, 2011 amid protests that ultimately led to a string of revolutions dubbed the Arab Spring. He had been living in exile in Saudi Arabia ever since. As France 24 reports, in 2018 Ben Ali was sentenced in absentia by Tunisian courts to "more than 200 years in prison on charges including murder, corruption and torture."

Though there is no cause of death just yet, Ben Ali had been in intensive hospital care for lung cancer for three months. According to Al Jazeera, lawyer Mounir Ben Salha announced Ben Ali's death to news agencies via phone and the claim was confirmed by Tunisia's foreign minister.

There is footage of a Tunisian lawyer taking to the street at dawn celebrating the news of Ben Ali's death.


This past Sunday, Tunisia held free elections advancing Kas Saied and Nabil Karoui (who is currently jailed) as presidential candidates with neither receiving a majority vote. A run-off election between the two will be held September 29.

Tunisians and others are sharing their reactions to the news across social media. Here are some reactions:





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